Palgrave Games in Context – serie

In 1974, the release of Dungeons & Dragons forever changed the way that we experience imagined worlds. No longer limited to simply reading books or watching movies, gamers came together to collaboratively and interactively build and explore new realms. Based on four years of interviews and game recordings from locations spanning the United States, this book offers a journey that explores how role-playing games use a combination of free-form imagination and tightly constrained rules to experience those realms. By developing our understanding of the fantastic worlds of role-playing games, this book also offers insight into how humans come together and collaboratively imagine the world around us.

In 1974, the release of Dungeons & Dragons forever changed the way that we experience imagined worlds. No longer limited to simply reading books or watching movies, gamers came together to collaboratively and interactively build and explore new realms. Based on four years of interviews and game recordings from locations spanning the United States, this book offers a journey that explores how role-playing games use a combination of free-form imagination and tightly constrained rules to experience those realms. By developing our understanding of the fantastic worlds of role-playing games, this book also offers insight into how humans come together and collaboratively imagine the world around us.

​This book provides an introduction to the Forge, an online discussion site for tabletop role-playing game (TRPG) design, play, and publication that was active during the first years of the twenty-first century and which served as an important locus for experimentation in game design and production during that time. Aimed at game studies scholars, for whom the ideas formulated at or popularized by the Forge are of key interest, the book also attempts to provide an accessible account of the growth and development of the Forge as a site of participatory culture. It situates the Forge within the broader context of TRPG discourse, and connects “Forge theory” to the academic investigation of role-playing.

​This book provides an introduction to the Forge, an online discussion site for tabletop role-playing game (TRPG) design, play, and publication that was active during the first years of the twenty-first century and which served as an important locus for experimentation in game design and production during that time. Aimed at game studies scholars, for whom the ideas formulated at or popularized by the Forge are of key interest, the book also attempts to provide an accessible account of the growth and development of the Forge as a site of participatory culture. It situates the Forge within the broader context of TRPG discourse, and connects “Forge theory” to the academic investigation of role-playing.

This book directs critical attention to one of the most ubiquitous and yet under-analyzed games, Minecraft. Drawing on three years of ethnographic fieldwork into mobile games in Australian homes, the authors seek to take Minecraft seriously as a cultural practice. The book examines how Minecraft players engage in a form of gameplay that is uniquely intergenerational, creative, and playful, and which moves ambivalently throughout everyday life. At the intersection of digital media, quotidian literacy, and ethnography, the book situates interdisciplinary debates around mundane play through the lens of Minecraft. Ultimately, Exploring Minecraft seeks to coalesce the discussion between formal and informal learning, fostering new forms of digital media creativity and ethnographic innovation around the analysis of games in everyday life.

This book directs critical attention to one of the most ubiquitous and yet under-analyzed games, Minecraft. Drawing on three years of ethnographic fieldwork into mobile games in Australian homes, the authors seek to take Minecraft seriously as a cultural practice. The book examines how Minecraft players engage in a form of gameplay that is uniquely intergenerational, creative, and playful, and which moves ambivalently throughout everyday life. At the intersection of digital media, quotidian literacy, and ethnography, the book situates interdisciplinary debates around mundane play through the lens of Minecraft. Ultimately, Exploring Minecraft seeks to coalesce the discussion between formal and informal learning, fostering new forms of digital media creativity and ethnographic innovation around the analysis of games in everyday life.

This book brings together essays on game history and historiography that reflect on the significance of locality. Game history did not unfold uniformly and the particularities of space and place matter, yet most digital game and software histories are silent with respect to geography. Topics covered include: hyper-local games; temporal anomalies in platform arrival and obsolescence; national videogame workforces; player memories of the places of gameplay; comparative reception studies of a platform; the erasure of cultural markers; the localization of games; and perspectives on the future development of ‘local’ game history.Chapters 1 and 12 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

This book brings together essays on game history and historiography that reflect on the significance of locality. Game history did not unfold uniformly and the particularities of space and place matter, yet most digital game and software histories are silent with respect to geography. Topics covered include: hyper-local games; temporal anomalies in platform arrival and obsolescence; national videogame workforces; player memories of the places of gameplay; comparative reception studies of a platform; the erasure of cultural markers; the localization of games; and perspectives on the future development of ‘local’ game history.Chapters 1 and 12 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Video Game Chronotopes and Social Justice examines how the chronotope, which literally means “timespace,” is an effective interpretive lens through which to understand the cultural and ideological significance of video games. Using ‘slow readings’ attuned to deconstruction along the lines of post-structuralist theory, gender studies, queer studies, continental philosophy, and critical theory, Mike Piero exposes the often-overlooked misogyny, heteronormativity, racism, and patriarchal structures present in many Triple-A video games through their arrangement of timespace itself. Beyond understanding time and space as separate mechanics and dimensions, Piero reunites time and space through the analysis of six chronotopes—of the bonfire, the abject, the archipelago, the fart as pharmakon, madness, and coupled love—toward a poetic meaning making that is at the heart of play itself, all in affirmation of life, equity, and justice.

Video Game Chronotopes and Social Justice examines how the chronotope, which literally means “timespace,” is an effective interpretive lens through which to understand the cultural and ideological significance of video games. Using ‘slow readings’ attuned to deconstruction along the lines of post-structuralist theory, gender studies, queer studies, continental philosophy, and critical theory, Mike Piero exposes the often-overlooked misogyny, heteronormativity, racism, and patriarchal structures present in many Triple-A video games through their arrangement of timespace itself. Beyond understanding time and space as separate mechanics and dimensions, Piero reunites time and space through the analysis of six chronotopes—of the bonfire, the abject, the archipelago, the fart as pharmakon, madness, and coupled love—toward a poetic meaning making that is at the heart of play itself, all in affirmation of life, equity, and justice.

This collection intends to fill a long overdue research gap on the praxeological aspects of the relationships between disabilities, accessibility, and digital gaming. It will focus on the question of how Game Studies can profit from a Disability Studies perspective of en-/disabling gaming and issues of disability, (in)accessibility and ableism, and vice versa. Instead of departing from the medical model of disability that informs a wide range of publications on “disabled” gaming and that preconceives users as either “able-bodied,” “normal” or as “disabled,” “deficit,” or “unable to play,” our central premise is that dis/ability is not an essential characteristic of the playing subject. We rather intend to analyze the complex infrastructures of playing, i.e., the complex interplay of heterogeneous human and non-human actors, that are en- or disabling.

This collection intends to fill a long overdue research gap on the praxeological aspects of the relationships between disabilities, accessibility, and digital gaming. It will focus on the question of how Game Studies can profit from a Disability Studies perspective of en-/disabling gaming and issues of disability, (in)accessibility and ableism, and vice versa. Instead of departing from the medical model of disability that informs a wide range of publications on “disabled” gaming and that preconceives users as either “able-bodied,” “normal” or as “disabled,” “deficit,” or “unable to play,” our central premise is that dis/ability is not an essential characteristic of the playing subject. We rather intend to analyze the complex infrastructures of playing, i.e., the complex interplay of heterogeneous human and non-human actors, that are en- or disabling.

​The recent and dramatic development of China’s economy and international political muscle is especially pronounced in the country’s video game industry. Now the largest of its kind in the world by gross revenue, the Chinese video game industry impacts every player in the global game market and has begun to directly influence the nature of the video game medium itself. From its conceptualization of the player as a category and commodity, to its approach to the design, development, and marketing of products and services, the Chinese game industry is engaging in a complex, innovative, and fascinating reimagining of the video game as a cultural and industrial force.The purpose of The Chinese Video Game Industry is to help introduce and investigate this industrial and cultural powerhouse. The book’s contributors array the industry across its history, economics, organization, politics, and cultures, documenting its rise, exploring its operational, cultural, and aesthetic characteristics, and capturing its context vis-à-vis the global media landscape. In so doing, the contributors provide a robust resource for anyone interested in studying, building, or even simply appreciating games.

​The recent and dramatic development of China’s economy and international political muscle is especially pronounced in the country’s video game industry. Now the largest of its kind in the world by gross revenue, the Chinese video game industry impacts every player in the global game market and has begun to directly influence the nature of the video game medium itself. From its conceptualization of the player as a category and commodity, to its approach to the design, development, and marketing of products and services, the Chinese game industry is engaging in a complex, innovative, and fascinating reimagining of the video game as a cultural and industrial force.The purpose of The Chinese Video Game Industry is to help introduce and investigate this industrial and cultural powerhouse. The book’s contributors array the industry across its history, economics, organization, politics, and cultures, documenting its rise, exploring its operational, cultural, and aesthetic characteristics, and capturing its context vis-à-vis the global media landscape. In so doing, the contributors provide a robust resource for anyone interested in studying, building, or even simply appreciating games.

This book examines the discourses surrounding the rise of the cryptogaming industry and the use of blockchain technology in videogames. Using a discourse analysis of industry materials published by cryptogame developers and venture capital firms, the book explores the promises made by proponents of cryptogaming, including the potential for resist power asymmetry in the value chain, the ability for players to generate income through their in-game actions, and the convergence and interoperability of games built on blockchains. The book also critiques the limitations and challenges of blockchain technology in the context of gaming, and considers the potentially deleterious impacts on players and developers. Overall, the book offers a comprehensive analysis of the discourses shaping the future of the videogame industry and blockchain technology.

This book offers a comprehensive overview of how video game sound and music represent cultures, spaces and personal identifications. Focusing on the concept of identity, the volume brings together issues as diverse as belonging to an ethnic or cultural group, identifying with certain sexualities or being able to deduce the historical or geographical context of a game. This volume explores whether the musical and sound identities linked to video games are based on clichés and stereotyped arrangements that span cultures and times. It includes case studies that analyse the mechanisms used by game producers, composers and sound designers to “characterise” and represent different identities to broad audiences of potential players, as well as how the players perceive these sonic inputs. The book is organized into three main sections, covering topics as the representation of historical periods, musical stereotypes of cultures from different geographic locations, representations of identity in fictional spaces and sonic depictions gender.

Videogame culture is obsessed with development. But gaming is still widely associated with wasted time, squandered potential and backwards attitudes. Even as the average gamer grows older, the medium remains dogged by the same old question: when will videogames grow up? The Gamergate movement lent this question renewed urgency, launching attacks on feminists and “social justice warriors” that have come to be seen as a catalyst for the emergence of the alt-right and election of Donald Trump. This book explores how makers of independent and experimental videogames responded to Gamergate and its aftermath. Analysing key titles released between 2015 and 2018, it shows how artgame designers used assets, characters and mechanics scavenged from classic franchises like Zelda, Street Fighter and Sonic the Hedgehog to review gaming's history, reframe their own biographies and link gaming’s growing pains to a broader sense of disorientation, disillusionment and decline in American culture.

“Designing A Feel for the Game is an important intervention in the world of game design. It offers a way to engage affective and emotional labor in a way that propels gaming forward. Wilcox does an excellent job showing how exploring feeling in games can help make design better, play more engaging, and mechanics more ethically sound and responsive to gamers.”--Kishonna L Gray, Professor, School of Information, University of Michigan, USA; author of Intersectional TechThis book offers a practical method for making meaningful and memorable games by design. Drawing on over a decade of teaching critical game design, Steve Wilcox translates the social and cognitive science of meaning-making into applied lessons and concepts for designing a feel for your game. Across eight chapters and a range of topics—including embodied cognition, anthropology, social psychology, affective science, persuasive design, and applied ethics—readers will learn that the mechanisms we already rely on to make sense of and give meaning to the world around us are the very tools we need to make games that feel meaningful and memorable to play.Designing a Feel for the Game features practical lessons illustrated with various examples from digital, analog, and live action games. Each chapter includes numerous applied activities developed and refined over a decade of teaching, including individual and group exercises as well as a major design challenge.

Feminism in Play focuses on women as they are depicted in video games, as participants in games culture, and as contributors to the games industry. This volume showcases women’s resistance to the norms of games culture, as well as women’s play and creative practices both in and around the games industry. Contributors analyze the interconnections between games and the broader societal and structural issues impeding the successful inclusion of women in games and games culture. In offering this framework, this volume provides a platform to the silenced and marginalized, offering counter-narratives to the post-racial and post-gendered fantasies that so often obscure the violent context of production and consumption of games culture.

Queerness in Play examines the many ways queerness of all kinds—from queer as ‘LGBT’ to other, less well-covered aspects of the queer spectrum—intersects with games and the social contexts of play. The current unprecedented visibility of queer creators and content comes at a high tide of resistance to the inclusion of those outside a long-imagined cisgender, heterosexual, white male norm. By critically engaging the ways games—as a culture, an industry, and a medium—help reproduce limiting binary formations of gender and sexuality, Queerness in Play contributes to the growing body of scholarship promoting more inclusive understandings of identity, sexuality, and games.